Dodecahedrons Research Paper

Under the rule of Diocletian, sculpture made a change for the better. An example of this change would be the sculpture, The Tetrarchs. The appearance of these four leaders is different from anything seen before, because of Diocletian’s new form of government. The eyes of the emperors are very wide and cutting to any person looking at the sculpture, with a similar likeness to classicism from the earlier Roman Empire. Each of the

Many similar characteristics are used throughout the Classical and Early Empire when the construction of temples was being built. Though old techniques were used, the advancement of new methods were being introduced to build faster, stronger, and in different shapes and sizes. We will discuss the Parthenon and the Pantheon; though similar in name, they do have some differences that represent the Greek and Roman styles.

One of the most well-known cultures throughout all of history belonged to the Greeks. Their heritage was so highly valued that it lived on even after they no longer ruled. The Greeks were some of the most innovative artists of their time and their work was so inherently beautiful that people from future cultures fell in love with it and decided to incorporate it into their own customs. The most famous group known for this was the Romans. After the Romans took over Greece, their love for its customs bloomed which resulted in many recreations of Greek art that are now seen today. However, Greek sculpture art had a hard time making it to the modern day. Most sculptures were made out of bronze and often melted down to be used for other purposes. Any surviving Greek related art is often just a Roman copy. The Romans are famous throughout history for their copies of Greek sculptures, especially relief sculptures. However, they also incorporated other Greek traditions and customs into their lives as well. Romans created separate names to refer to Greek gods and were often found creating and recreating art based on Greek myths. One specific Greek custom adopted by the Romans was the way in which they buried their dead. Romans originally cremated their dead but after the influence of Greek culture, they began burying their dead in large sarcophagi, with Greek myths elaborately sculpted into the sides, similar to the one kept at the Walter 's Art Museum depicting the abduction of

The study of Greek sculpture is a complex relationship of Roman sculpture. And a large number of Roman sculpture, especially in the stone, survives more or less intact, it is often damaged or piecemeal; life-size bronze statues are much more rare, because as most have been recycled for their metal. The

Among the many artworks I have seen, I decided to discuss about the “Sarcophagus Depicting a Battle between Soldiers and Amazons (Warrior Women)” from the Roman civilization. It was built sometime in between 140 A.D. to 170 A.D and is approximately forty and a half inches in length, ninety-one and a half inches in width, and fifty and a half inches tall in height (“Roman Sarcophagus”). This masterpiece appealed to me because of the unique approach that has been designed to honor the deceased. Many people are familiar with the formatting and inscriptions of a gravestone because it is usually engraved with an individual’s full name, birth date, and death date. During the Roman Empire, a sarcophagus, which is a coffin, was widely used to show decorative themes that includes: battle scenes, hunting scenes, weddings, or other memorable episodes from the life of the deceased individual. The most luxurious ones were made from marble surrounded by symbolic sculptures, figures and inscriptions on all four sides (“Sarcophagus”). Another feature that captured my attention was the large quantity of details used to bring out a lifelike aspect of the deceased individual’s favorable moments in their life. In this artwork, this sarcophagus was dedicated to a Roman commander. The exterior of the sarcophagus has been well-decorated and carved with exquisite details depicting a battle scene

Pentelic marble is used in sculptures as well as architecture. (Seth) The figure is 21 inches tall, 3115/16 inches long. (Art) The object is meant to be viewed from the front. In this piece of sculpture, we see a muscular barrel-chested Greek man centered in the middle with a larger rounded shield next to him, while his right arm placed behind his squared faced head. His full chest muscles carefully polished smoothly and delicately. Based on the warrior’s sinking pose, it has been thought that he is falling to the ground after dealing a mortal blow from behind. The strong, solid linear of the large geometric rounded shield is in contrast to the serpentine, subtle and smooth lines appear on this organic body figure of the warrior. It appears as though the sculpture itself is not painted for the most

Weschler points out the thousands of cuneiform-engraved clay tablets that were in his friend Stopler’s office and also reflects what his friends had to say about the tablets and his experience with finding ancient information. People have always found a way to leave their mark

A sarcophagus is a stone coffin usually associated with the civilizations of Egypt, Greece, and Rome. The Sarcophagus Depicting a Battle between Soldiers and Amazons (Warrior Women), housed at the Museum of Fine Arts Houston, was crafted by the Romans between 140 - 170 CE While observing the sarcophagus one notices the rectangular and triangular prisms that give it the shape similar to that of a building. This particular coffin is made of marble; however, cheaper alternatives used by Romans include wood, lead, and other stones. Sarcophagi are used as symbols of remembrance and the afterlife. Sarcophagi were Sarcophagi and altars were usually located outside of the city as Romans believed that burials inside the city were a violation.

the Cycladic Islands. The people of these islands created marble statues ranging from a few

Stonehenge catches my attention because of the mystery that it has to it. All the theories about how it was built, why it was built, and for who it was built have not been proven to this day. And that’s what catches my attention the most, the mystery of how this primitive people were able to move this big stones from such far distance, and how they were able to aligned them almost perfectly for an unknown purpose.

Before choosing to write my research paper over this structure, I had decided to write over the three pyramids. After reading the first chapter of the Ancient World, I was interested in finding out more about these three pyramids. I would learn about them in high school or hear something about them in books, movies and sometimes the History channel. I just thought they were three pyramids that were created as art. In which these pyramids were created as temple for the Kings Khufu, Khafre, and Menkaura. The pyramids were to protect the bodies and the items these kings needed for the afterlife. After exchanging a few words with my professor I decided to write over the Mortuary Temple Hatshepsut. It never caught my attention to write over this

Stamper, The Architecture of Roman Temples, 106. Stamper, The Architecture of Roman Temples, 106. Stamper, The Architecture of Roman Temples, 106. Stamper, The Architecture of Roman Temples, 109 Frank Sear. Roman Architecture (London: BT Batsford Ltd, 1989), 59. Darryl A. Phillips, “The Temple of Divius Julius and the Restoration of Legislative Assemblies under Augustus”, Phoenix 65 (2011): 382 Stamper, The Architecture of Roman Temples, 130 Sear, Roman Architecture, 58 Sear,

According to Sullivan they “found a heavy flat olive-tinged stone – about two feet long, fifteen inches wide and ten inches thick- set in its center. It was inscribed with strange markings” (4).

The Greek grave-markers of the 3rd-1st century BCE are almost wholly restricted to the East Greek World. The most common type is tall, with architectural elements, and a big figure of the deceased with small attendants. Another type, a short and broad rectangle, depicts the deceased at a feast - the "Death Feast" or "Totenmahl reliefs." (Rothermel 354)

The torchers are mainly composed of three archaeologically inspired elements: the bronze candelabra of nine lights derived from Stuart’s reconstruction of the tripod on the roof of the choragic Monument of Lysicrates, a tripod of griffins with a white marble top based on a Roman marble tripod with the three griffins in the Capitoline museum, Rome, and an incurved triangular pedestal derived from the bases of Roman candelabrum, such as one illustrated in Santi Bartoli’s Admiranda